From Concept to Reality: Nymfo reflects on first year of Love For Low Frequencies (LFLF)

A year has flown by since the launch of Love For Low Frequencies (LFLF), the brainchild of drum & bass veteran Nymfo. With over a dozen releases already under its belt, the label has exceeded expectations and garnered a dedicated following. 

To mark the milestone for his very much sought-after deep and techy D&B label, Nymfo (Bardo Camp) and LFLF core member/documentary maker VOXI (Tamara van der Vos) sat down for a candid conversation about the label’s journey, challenges, aspirations and the recent premiere of ‘For The Love Of Low Frequencies’ documentary at Melkweg, Amsterdam. Enjoy.

Well, congratulations. Over a dozen releases in the first year. How does it feel? 

Nymfo: Yes, I’m proud, too. I didn’t really expect that much positive feedback already. But it’s going much better than expected. 

In the documentary, it was mentioned that the initial plans for LFLF started coming along in 2020. Back then, you let the people you wanted to work with, like Waeys and Rueben, know that it would still take some time. Do you think that, in hindsight, really taking that time, helped? 

Yes, I wanted to prepare well. Because you see new labels being launched. And then people often announce ‘something big is in the making’… And then? There’s one release. Maybe a second one. And then it dies a bit, you know. 

And yes, I had imagined that I wanted the first five releases to be ready, before I announced it. Because then you can start, you can do a release every month. It’s better than creating a hype and then it dies. Nowadays, you just have to (keep going) you can’t do a release and then nothing for a year. Because everyone has already forgotten you.

And then you have a certain creative margin for, in this case, your artists too?

Yes, definitely. Especially the first five (EP’s) it just took a while, and then I was curious about how many demos I was going to get, as soon as people knew I had a label. I am impressed, there are a lot of good producers out there. But I have to say the next release takes a little longer before it comes out.

There have been some challenges with the masters that took a little longer. But I do want to be in the picture every month or every other month. But it depends on getting enough demos. The music has to keep its quality. You don’t want to release just for the sake of it. But that hasn’t happened anyway. 

What was the biggest challenge after all? 

The preparations took a long time. Back then, nobody knew I wanted to start a label. I had to contact all the artists via SoundCloud and such. And that took a while. Back then, I was starting from scratch, like a nobody.

You’re still Nymfo…

Yes, but some people would rather send a demo to Critical Recordings or Dispatch. I found a few artists who had the patience to wait. I said: I want to release your music, but it’s going to take a while before I’m there.

And then there was the scheduling involved to do a release every month. I have to give credit to Lars Dingeman from Triple Vision. He works behind the scenes and helps me a lot.

For you, it’s a new role, being a label boss. Something else. How do you see it? 

I found out that I’m pretty good at it because I’m always on point. What I miss with a lot of labels is actual human contact. You send demos to whoever, and you don’t even get a response. And if you get a response you don’t really communicate, while nowadays it’s super easy to connect.

What I do with every artist I sign: I call them and say thanks for sending me music. Then they’re surprised, because, an actual label is calling them. I communicate well, and check the wishes of the artist. And it’s going really well.

While being a father, do you see taking on this role as a natural evolution in terms of being a mentor? 

Maybe from being a father, but also due to age. I’m 42. I always say I don’t want to end up spinning records far into my sixties. You have to know your place. Eventually you got to step down and make room for other artists. That’s how I feel.

I get a lot of energy from running LFLF. Everyone is happy and grateful. Especially with the label. It’s super cool. I have the network and can handle it easily. It feels natural to me and I can still keep performing, but don’t have to do it every weekend. I’ve had that time.

I just watched the documentary and it was really cool. Especially the many shots of you from back in the day. Did you sit with Tamara (VOXI) to edit the footage? 

At first, Tamara used footage from my set at Star Warz, back in 2005. She went through a lot of footage. I figured it would be cool if the documentary started fast-paced. With a lot of shots, intense music etc. Then I found an old compilation video and we used some footage from that. Perhaps Tamara can add something? 

Tamara: There are actually two versions of the documentary. The first version had a single-shot intro from Star Warz. A jump back in time: Young Nymfo playing a vinyl set, a young Andy C giving Nymfo a heads-up that he had a couple of minutes left from his set. Which I thought was pretty funny. 

What stood out for me: how intense the crowd was; really enjoying themselves, no phone in sight. The shot made me feel like I was there. I sent this version to a short music documentary film festival, but it wasn’t selected. 

I figured the best way to push this documentary was to gather D&B heads and screen the documentary at Melkweg Cinema during Curated by Talks on LFLF’s first anniversary. It was the perfect time and place. And of course it’s now available on LFLF’s YouTube channel. 

Did you change a lot for this version? 

Tamara: Only the intro. For the screening in Melkweg Bardo had an alternative fast-paced intro in mind, which was a compilation of him DJing around the world. I selected the best shots from the compilation and cut some shots a bit shorter so it would have a good pace. Bardo took care of the music.  

Bardo: The rest of the LFLF docu Tamara prepared it very well. She made a script. During ADE, she interviewed all the artists. It came together really well, and it builds up to the first label night during ADE. 

Last week we did the premiere for this version at the Melkweg, Amsterdam, and it was really cool. Many friends and acquaintances were there. And you could feel the vibe of the writer’s camp. And above all- you can do cool things with nice people. 

Do you have specific goals for the next year you want to share?

I want to expand the label night to more places in Europe and at some point abroad. I want to expand that steadily. Furthermore, I am looking for a vinyl release; a compilation of the first year, something like that. Hopefully the expansion will go faster than expected.

And keep building with the releases, but with a few key artists. I hope some artists will send me demos that already had a release, so we have some familiar faces. It is important for the organisation. 

Any upcoming shows this summer worth mentioning?

We are doing a LFLF showcase at the Liquicity Festival that will be announced soon. What is the stage called Tamara?

Tamara: Nebula.

And with ADE we are doing something at a new location in the north of Amsterdam. 

And of course your radio show…

Yes, I have a monthly Kool FM showcase with LFLF. Especially in the UK, it’s popular, really cool. Every month, when I have a release, I can showcase a guest mix. 

Do you also mix yourself? 

Sometimes I host. It depends on my time. I have to prepare. Sometimes it is a one-hour mix with new LFLF tunes. Or a guest mix. It is a way to test the music.

We’re highlighted there every month on the app and website, so people see the name. Kool FM is big in the UK. It is part of Rinse FM.

We have a showcase in Ghent, Belgium on June 21st. The UK is the target for one of the next foreign showcases. I am looking into it, but so much has changed after Covid in England. It is harder.

Awesome. Last question. Being the curator of your own label nights with Love For Low Frequencies –  what would you like to convey vision-wise? 

Positive vibes. Good energy. And of course the music itself. You see a lot of the same names on line-ups these days, and I want to give other artists a platform. 

We are still building the foundation for these showcases, and eventually, I want to work towards a bigger budget with a wider line-up. But also expand the visual presentation. 

Follow LFLF: Bandcamp/SoundCloud/Instagram/Rinse Shows
Out now: Crystal Clear – Network EP

Written by UKF